Ludwig Wittgenstein's Tractatus Logico-Philosophicus (1922) remains one of the most enigmatic works of twentieth century thought. In this bold and original new study, Ben Ware argues that Wittgenstein's early masterpiece is neither an analytic treatise on language and logic, nor a quasi-mystical work seeking to communicate 'ineffable' truths. Instead, we come to understand the Tractatus by grasping it in a twofold sense: first, as a dialectical work which invites the reader to overcome certain 'illusions of thought'; and second as a (...) modernist work whose anti-philosophical ambition is intimately tied to its radical aesthetic character. By placing the Tractatus in the force field of modernism, Dialectic of the Ladder clears the ground for a new and challenging exploration of the work's ethical dimension. It also casts new light upon the cultural, aesthetic and political significances of Wittgenstein's writing, revealing hitherto unacknowledged affinities with a host of philosophical and literary authors, including Hegel, Kierkegaard, Marx, Nietzsche, Adorno, Benjamin, and Kafka. (shrink)

This essay resists steering an unhappy third-way between avowedly “critical” approaches to happiness (Freud, Žižek) and more “positive” perspectives (Benjamin, Badiou), and instead turns the tables. In the first half, focusing upon Thomas Mann’s short story “The Will to Happiness,” it examines neurotic hedonism—a more sophisticated variant of the hysteric’s old game of deriving satisfaction from unsatisfied desire itself—and some of the “necessary fictions” which undergird it. In the second half, it explores what it might mean, at least in theory, (...) to move beyond neurotic hedonism by embracing a different perspective: dialectical pessimism. This pessimistic outlook is allied to the activity of critique, but it also requires a specific conception of the self; namely, the self as the “manure” (Gramsci) of history. How can the very idea of happiness be rethought from this “excremental” perspective? (shrink)

The latest book in a series that seeks to illuminate Francis Bacon's art and motivations and open up fresh and stimulating ways of understanding his paintings.

In an essay entitled ‘The Nobility of Sight’, Hans Jonas argues that ‘[s] ince the days of Greek philosophy sight has been recognized as the most excellent of senses’ (Jonas, 1954, p.507). Seeking to account for the historical elevation of vision over other forms of sensory engagement with the world, Jonas contends that ‘[t]he unique distinction of sight consists in what we may call the image performance, where “image” implies three characteristics: (1) simultaneity in the presentation of a manifold; (2) (...) neutralization of the causality of sense-affection; (3) distance in the spatial and mental senses’ (ibid.). In the case of (1), what distinguishes sight from other senses is the fact that it can give us both dynamic and static reality: our eyes can survey a whole field of possible percepts as well as focus directly upon a fixed object (ibid., pp.508–9). In the case of (2), what further marks out vision is that it does not require the perceiver and the object of perception to be directly engaged — the ‘dynamic’ relation between the two is, in Jonas’ words, ‘neutralized’ (ibid., p.514). And in the case of (3), seeing’s inimitability is also guaranteed by its being ‘the only sense in which the advantage lies not in proximity but in distance: the best view is by no means the closest view’ (ibid., pp.517–8). (shrink)

In this groundbreaking new study, Ben Ware carries out a bold reassessment of the relationship between modernism and ethics, arguing that modernist literature and philosophy offer more than simply a snapshot of the moral conflicts of the past: they provide a crucial point of reference for today’s emancipatory struggles. Modernism in this assessment is characterized not only by a concern with language and aesthetic creativity, but also by a preoccupation with the question of how to live. Investigating ethical ideas in (...) Wittgenstein, Beckett, Kierkegaard, Kant, Cavell, Marx, Henry James and Lacan, Ware demonstrates how these thinkers can bring us to a new understanding of a constellation of issues which contemporary radical thought must re-visit: utopia, repetition, perfectionism, subtraction, negativity, critique, absence, duty, revolution and political love. The result is a timely and provocative intervention, which re-draws the boundaries for future debates on the ethics and politics of modernism. (shrink)

In this groundbreaking new study, Ben Ware carries out a bold reassessment of the relationship between modernism and ethics, arguing that modernist literature and philosophy offer more than simply a snapshot of the moral conflicts of the past: they provide a crucial point of reference for today's emancipatory struggles. Modernism in this assessment is characterized not only by a concern with language and aesthetic creativity, but also by a preoccupation with the question of how to live. Investigating ethical ideas in (...) Wittgenstein, Beckett, Kierkegaard, Kant, Cavell, Marx, Henry James and Lacan, Ware demonstrates how these thinkers can bring us to a new understanding of a constellation of issues which contemporary radical thought must re-visit: utopia, repetition, perfectionism, subtraction, negativity, critique, absence, duty, revolution and political love. The result is a timely and provocative intervention, which re-draws the boundaries for future debates on the ethics and politics of modernism. (shrink)